“Cris nouveaux”:梅西埃的巴黎和新巴黎画报中的巴黎音景

IF 0.2 3区历史学 Q2 HISTORY

Early Modern French Studies Pub Date : 2019-01-02 DOI:10.1080/20563035.2019.1612567

M. Darlow

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引用次数: 2

摘要

虽然路易斯-萨姆巴斯蒂安·梅西埃的《巴黎画面》和《新巴黎》都是用视觉来表达的，但这些作品对声音类型的关注是持续而细致的。根据Mercier对不同类型声音(例如噪音、人声或音乐)的描述，我认为Mercier为我们提供了革命前和革命后巴黎的音景。梅西埃用声音来描绘巴黎的各种地形，无论是社会的、文化的还是道德的。通过它的音景，《新巴黎》坚持认为巴黎在1798年发生了多大的变化，梅西埃对混乱和不和谐的描绘表明了一个不和谐的世界;它们也让我们追溯了他对被革命事件冲走的巴黎的怀念。

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‘Cris nouveaux’: The Soundscape of Paris in Mercier’s Tableau de Paris and Le Nouveau Paris

Although Louis-Sébastien Mercier’s Tableau de Paris and Le Nouveau Paris are framed in visual terms, the attention to types of sound in these works is sustained and detailed. Tracing Mercier’s descriptions of different types of sound, for instance noise, human voices, or music, I argue that Mercier offers us a soundscape of pre-Revolutionary and Revolutionary Paris. Sound is used by Mercier as a means of mapping the various topographies of Paris, whether social, cultural, or moral. Through its soundscape, Le Nouveau Paris insists on how much Paris had changed by 1798, and Mercier’s depictions of chaos and cacophony suggest a world out of tune; they also allow us to trace his nostalgia for the Paris which had been swept away by the Revolutionary events.

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来源期刊

Early Modern French Studies Multiple-

CiteScore

0.10

自引率

0.00%

发文量

期刊介绍： Early Modern French Studies (formerly Seventeenth-Century French Studies) publishes high-quality, peer-reviewed, original articles in English and French on a broad range of literary, cultural, methodological, and theoretical topics relating to the study of early modern France. The journal has expanded its historical scope and now covers work on the sixteenth, seventeenth, and eighteenth centuries. Within this period of French literary and cultural history, the journal particularly welcomes work that relates to the term ''early modern'', as well as work that interrogates it. It continues to publish special issues devoted to particular topics (such as the highly successful 2014 special issue on the cultural history of fans) as well as individual submissions.